One of Hong Kong’s most talented and esteemed cinematographers (Christoper Doyle) paired up with his trusted producer (Jenny Suen), as a team they wrote and directed The White Girl, one of the finer films to have come out of Hong Kong in years. Hong Kong isn’t really overflowing with female indie directors, so I couldn’t pass on the chance to ask director Jenny Suen some questions about her first feature film directly. If you’re still on the fence about watching The White Girl, do read on and let yourself be convinced.
Niels Matthijs: The White Girl is a film that works on multiple levels. There’s the plot and the characters on the one hand, the Hong Kong allegory on the other. Was it conceived that way from the start, or did it grow into that during production? Also, are both layers equally important to you, or was one written in function of the other?
Jenny Suen: To an audience a film is only what they see on the screen. To a filmmaker a film is a life. The choices are a reflection of how we live: location, language, budget… and most importantly, the people you choose to share that with. I started to work on it back in 2013 after I moved back to Hong Kong. So the film is a result of me trying to understand this place and what this “home” means to me after years of living abroad. Hong Kong is disappearing. Our way of life is under threat. What is the point of giving a story as grand of a stage as a silver screen if we don’t have the courage to tell the grandest story of our times?
The upcoming Hong Kong Asian Film Festival features an impressive slate of Hong Kong films made by new or emerging filmmakers with a clear affinity for the city. The list includes female filmmaker Pan Lu’s film Many Undulating Things (2019).
Chan plays the femme-fatale bodyguard of a triad boss, a role she considers unique given most ‘top enforcer’ characters in films are men
The actress, who has previously acted alongside Donnie Yen and Max Zhang, always does her own stunts and even helps choreograph set pieces
There’s a bit of an Asian-American movement happening in Hollywood right now.
The breakout success of Crazy Rich Asians has led to more Asian-American representation on US screens big and small, including the critically acclaimed family dramedy The Farewell; the much-buzzed-about Always Be My Maybe; and beginning next week on Netflix, Wu Assassins, a contemporary crime drama that combines martial arts and supernatural elements.
The show stars an all-Asian cast headlined by Indonesian actor Iko Uwais of The Raid fame, and includes Hong Kong-born JuJu Chan Yuk-wan, whose role was specifically crafted for her.
“I initially met the crew to talk about [another] role,” recalls Chan, 30, who split her childhood between Hong Kong and the US. “But after realising my martial arts background and ability to do my own stunts, they wrote an entirely new role for me.”…
HONG KONG — As Hong Kong’s protests evolve into a struggle against the grip of authoritarian China, one of the city’s biggest pop stars has emerged as an icon of defiance. She has spoken at rallies, handed out voter registration forms at marches and stood on the front lines with demonstrators, urging the riot police not to charge.
Ann Hu is a Chinese-born writer, producer, and director who is known for her work on films such as her award-winning debut, Shadow Magic, and her upcoming feature film, Confetti. She is the founder and president of Media Assets Inc., a media investment company that specializes in financing media projects, film productions, the arts, and other ventures. Hu is also the co-founder of Media Alive, a film distribution company that is dedicated to bringing international films to the Chinese market.
Hu will be a participant on the consumer and retail panel at SupChina’s third annual Women’s Conference, which will take place on Monday, May 20, at the Harmonie Club of New York. Before the event, she spoke with us about how she became a filmmaker and foreign film distribution in China.